- Course Number:
- MUS 112
- Course Title:
- Music Theory I (part two)
- Credit Hours:
- Lecture Hours:
- Lecture/Lab Hours:
- Lab Hours:
- Special Fee:
Course DescriptionContinues work from MUS 111. Focuses on four-part harmony and common practice period voice leading. Includes figured bass realization, harmonic analysis and written composition. Part two of three-term sequence. Concurrent enrollment in MUS 112C is required for music transfer students. Prerequisites: MUS 111 and its prerequisite requirements. Audit available.
Intended Outcomes for the course
Upon successful completion students should be able to:
Attain fluent musical language in order to consciously observe the musical practices of the masterworks of the western world through listening, harmonic analysis, basic music composition and the practicing of tonal counterpoint in order to appreciate simultaneously the uniqueness of
a work, its origins and precedent, its potential as an influence and inspiration on other works, and its relationship to a particular cultural moment.
Exhibit good musicianship (good tone production, stylistically proper phrasing, execution of dynamics and articulations) by applying components of music theory through musical expression.
Generalize listening experience to music that is not part of the western art music tradition so that he/she can understand and value the music of the peoples of the world in all-encompassing ways.
Develop a personal musical language in the composition of original musical works.
Outcome Assessment Strategies
The instructor should make the criteria for assigning a course grade and for evaluating student progress clear at the beginning of the term. The individual instructor will determine the methods of assessment. Assessment methods may include:
Small group work/problem solving
Course Content (Themes, Concepts, Issues and Skills)
Voice Leading I
¦ The chorales of J.S. Bach
¦ Principles of four-voice writing
¦ Chord voicings (open and close structure, spacing, doubling)
¦ Basic voice leading principles
¦ Root-position triad connection
Voice Leading II
¦ Voice leading for first-inversion triads
¦ Part writing using nonharmonic tones
¦ Baroque practice for nonharmonic tones
Voice Leading III
¦ Voice leading for second-inversion triads
¦ Cadential six-four triads
¦ Passing six-four triads
¦ Pedal six-four triads
¦ Arpeggiated six-four triads
Melody Harmonization in the Chorale Style
¦ SATB harmonization using root-position triads
¦ Adding inverted triads
¦ Adding nonharmonic tones
¦ Adding inner voices
¦ Melodic contour
¦ Melodic tension
¦ Melodic range
¦ Interval structure
¦ Use of rhythm
¦ Tonal and harmonic implications in melody
¦ Tendency tones
The following skills are expected to be achieved to successfully meet the minimum requirement ("C" or "Pass") of the course.
Successfully identify baroque voice-leading practices within a four-voice chorale.
Successfully identify voice-leading errors within a four-voice chorale.
Harmonize preexisting melody in four voices (SATB) following baroque voice-leading rules.
Compose a four-voice chorale following baroque voice-leading rules.
Successfully identify, and properly use nonharmonic tones within a four-voice chorale.
Identify and categorize the use of second-inversion triads within a musical composition.
Provide analysis of a melody, including contour, range, interval structure, harmonic implication and use of tendency tones.
Create basic melodic reduction employing basic Schenkerian method.